영화 <그날은 오리라>가 제시하는 홍콩성(Hongkongness)에 대한 고찰

Abstract

This paper explores new Hongkongness implied by Our Time Will Come, 明月几时有(2017), a film produced by Xuanhua, to celebrate the 20th anniversary of Britain’s return of Hong Kong. Our Time Will Come is a film describing activities of an anti-Japanese group which plans to evacuate some figures of the cultural community to the outside of Hong Kong, while avoiding Japanese army, with Hongking in 1941, during the Japanese colonial period, as its setting. However, this film does not show the genre convention which has been commonly exhibited by others describing wars and struggles of resistance organizations. Instead, Xuanhua shows how each of petty bourgeoisie resists on the part of them, by retraining himself from describing national salvation by activities of heroes who typically appear in films which represent history. In addition, Our Time Will Come escapes from the ideological performance process through which other Chinese historic films have imparted specific politics toward the nation and the state to the public, with vulgar power driving strong Shinpa. Moreover, Xuanhua throws some messages about the present, the past and the future of Hong Kong, by telling stories of Hong Kongers with forms and contents of ‘ambiguity’. Hong Kong described in Our Time Will Come represents a non-deterministic space and is a metaphor for the current Hong Kong and Hong Kongers’ lives, because the film, a kind of arts, is always recalled from the current perspective, even if it represent any eras or time and space. Xuanhua’s narrative of non-deterministic Hong Kong certainly represents new Hongkongness created by many individuals, beyond levels of trans-boundaries and deconstruction, where Hong Kongers who had been colonized by the British and are now opposite to the large homeland, China, struggle to build their hopeful future in multifaceted and multilateral ways.